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The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
030110-N-5319A-003
Central Command AOR - Seabees from NAVAL MOBILE CONSTRUCTION BATTALION FIVE (NMCB 5) constructed a 16 cell ammunition supply point (ASP) involving over 1600 HESCO collapsible barriers for future operations in the Central Command AOR. NMCB 5 based out of Port Hueneme, CA is currently forward deployed in support of Operation Enduring Freedom.
(U.S. Navy photo by Photographers Mate First Class (PH1) Brien Aho) (Released)
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
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About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
Fire involving three storey public house. Two hydraulic platforms in use as water towers, water support unit, 12 BA. Six hose reel's and thermal image in use. Building destroyed by fire, now under going demolition.
Picturesque and non- threatening, as it doesn't involve anything to do with vehicles and movement.
My long-term Minnesota buddy has always talked of their severe winter weather. But it's not until I experienced it personally that I fully understood it's impact, and the reaction of the hardy Minnesotans.
The extreme lows and wind chill of the polar vortex syndrome had ceased when I arrived. There was much snow, piled in huge heaps at the side of roads and car parks. Then the weather “warmed up” to freezing, and my host rejoiced at the high temperatures, of the type that us maritime climate Brits would consider as wintry.
Then came the warning of a “winter storm”, with forecasts of up to a foot of snow. And the forecast was far from that provided by grinning personalities in the UK – this was serious, accurate aviation-style forecasting, complete with isobar maps, predictive graphics, and radar. And there was a clear countdown, plus progress report as it hit.
Yes, they were right. Ten inches of snow. Then wind which blew it around. Then the compacted snow on the road froze, the worst possible surface to drive on.
Like the Nordic countries, regularity of snow encourages a coordinated, efficient and rapid response, roads ploughed and gritted. Combine this with the forecasting, and the overall impression is of the best possible reaction to bad weather. But, inevitably, the snow always has the last word.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Another unfortunate day, this time involving death of an extended family member, financial surprises and health scares, all of which I was oblivious to at the time of this photo. I'm dealing with it all as best as I can, which is all anyone can do anyway. But it still sucks.
By the way, this photo was taken on Ashland Ave., a major thoroughfare in the city; I can't believe I captured it completely devoid of cars or people! Also my camera is catching some strange afternoon light phenomena.
ubiquitous black wool beret, valarie's collection, trimmed with curled pheasant feather
black round lens sunglasses, knee deep
same earrings as yesterday, from valarie
wide woven cotton scarf, thrifted
velvet robe, bought from a random girl
pearl scarf pin, thrifted
gauntlets, cut from my fur-lined gloves
vintage gloves layered under gauntlets, thrifted
mandarin style shirt, thrifted
blue suede skirt, thrifted
long black skirt, urban outfitters sale
blue suede boots, ebay
Many students use the MTCC Bridge to get from one side of campus to the other. This makes it the perfect place for organizations to set up shop and advertise.
Claudie (André-Deshays) Haigneré (born 13 May 1957) is a French doctor, politician, and former astronaut with the Centre National d'Études Spatiales (1985–1999) and the European Space Agency (1999–2002).[1]
Contents
1 Background and training
2 Space career
3 Political career
4 Organizational Involvement
5 Honours
6 Sources
7 References
8 External links
Background and training
Born in Le Creusot, France, Claudie Haigneré studied medicine at the Faculté de Médecine (Paris-Cochin) and Faculté des Sciences (Paris-VII). She went on to obtain certificates in biology and sports medicine (1981), aviation and space medicine (1982), and rheumatology (1984).[2] In 1986 she received a diploma in the biomechanics and physiology of movement (1986) and received her doctorate in and received her doctorate in rheumatology (1984) and neuroscience(1992).[1][2]
Space career
Haigneré (right) aboard the International Space Station.
Out of 10,000 candidates, France's space center selected only six men and Claudie Haigneré. Claudie Haigneré first qualified as an engineer and emergency pilot to the space shuttle. She first served as a back-up crew member for the 1993 Mir Altaïr mission in which her future husband Jean-Pierre Haigneré participated. The asteroid 135268 Haigneré is named in their combined honour. In 1994, Claudie Haigneré began training at the Yuri Gagarin Cosmonaut Training Center in Star City, Russia for the Franco-Russian Cassiopée mission and learned Russian during her time there. On August 17, 1996, she became the first French woman to go to space as she and two Russian cosmonauts, commander Valery Korzun and flight engineer Aleksandr Kaleri, launched into space aboard the Soyuz TM-24 on the Russian-French Cassiopée mission.[2] While on the mission, visited the Mirspace stationfor 16 days and she conducted comprehensive experiments in the fields of physiologyand development biology, fluid physics, and technology.[2] In 1999, Haigneré commanded a Soyuz capsule during reentry and became the first woman qualified to do so.[2] As the flight engineer on Soyuz TM-33 in 2001, she became the first European woman to visit the International Space Station.[2] After the mission, Claudie Haigneré continued her involvement in space science by attending scientific workshops and conferences. She also contributed to data analysis and constructions for the scientific programs of future projects.[3] She eventually retired from ESA on June 18, 2002.[4][5][6]
Political career
Following her career as an astronaut, Claudie Haigneré entered French politics in Jean-Pierre Raffarin's government. She was minister delegate for Research and New Technologies from 2002 to 2004 and succeeded Noëlle Lenoir as minister delegate for European Affairs from 2004 to 2005.[7]
Organizational Involvement
Haigneré was named as the founding director of Universcience in 2009.[8] At that time, she was an advisor to the Director of the ESA.[9] In 2015, Haigneré resumed serving as a special advisor to ESA's director general.
Claudie Haigneré recently accepted the position to chair the Jury of the DStv Eutelsat Star Awards, which is an annual pan-African student competition in which students write an essay or create a poster focusing on science and technology fields as a source of inspiration to unlock opportunities for Africa. The essays and posters will then be judged by an international panel of industry experts, government and academic world members, based on accuracy, creativity, originality and innovation.[10] Claudie Haigneré's acceptance of this assignment marks the first time a woman has served on the panel for the DStv Eutelsat Star Awards.[10]
Honours
Haigneré receives the Medal for Merits in Space Exploration from Russian President Dmitry Medvedev on 12 April 2011 at the Moscow Kremlin.
Claudie Haigneré received many special honors for her spaceflight career. She received the "Chevalier de la Légion d'Honneur" as well as the "Chevalier de l'order National du Mérite. To recognize her outstanding involvement in the Franco-Russian space cooperation she received ensuing ranks of the Russian "Order of Friendship." She also received the Russian "Medal for Personal Valour."[3]
Claudie Haigneré is also an honorary member of the Société Francaise de Médecine Aéronautique et Spatiale and the Association Aéronautique et Astronautique de France (AAAF). She also holds membership in the International Academy of Astronautics (IAA) and of the Académie de l'Air et de l'space (ANAE).
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
The Mavis Seed joyous, energetic acoustic pop, folk, and gospel band live performances storytelling involving originality sincerity grounded humble refreshing reedy zined matt burnside sara dee
We present several items from the PRECIOSA Traditional Czech Glass™ sold under Desna since 1847 brand. This artistic crystalware collection produced by Preciosa Ornela and involves products which follow in the pre-war tradition of the production of unique products by the Jablonec companies of H. Hoffman and C. Schlevogt, as well as by other designers from the post-war era. The entire collection incorporates a wide range of products ranging from small matt crystal figures and articles with a devotional theme through to a group consisting of flacons, jars, vases and ashtrays (several of which are in the popular Art Deco style) and on to figural statues. These products are characterised by the large amount of traditional manual workmanship which goes into their production. As far as the colors are concerned, Czech crystal, uranium yellow, jade, refined blue and green have long been popular.
If you are interested in purchasing any of these items, please come and visit our company shop in Desná, but you can, of course, also come across the items from the collection at a number of other shops which specialise in Czech glass.
There’s also the subplot involving Raven and Hank/Beast (Nicholas Hoult), and their desire to look normal rather than embrace their mutant selves.
The segments where the film falls flat are the recruiting and training of the young mutants. It doesn’t quite fit into the whole picture and takes away from the film. The scene where the mutants demonstrate their powers to each other is a chore and takes away the momentum of the film.
There are sterling performances throughout the film. January Jones from Mad Men is perfectly cast as Emma Frost, the ice queen of the mutant set, while Jennifer Lawrence, who plays Raven/Mystique, is also great in the role of a tortured mutant unwilling to accept herself. Bacon is surprisingly menacing as the leader of the sharply dressed Hellfire Club.
Fire involving three storey public house. Two hydraulic platforms in use as water towers, water support unit, 12 BA. Six hose reel's and thermal image in use. Building destroyed by fire, now under going demolition.
Project Library is a Mixed Media necklace which involves several interesting and fun techniques. This project should be easy peasy for those of you who have had some experience in dabbling with jewelry-making. Fearless beginners are invited to take this up as a challenge! I will guide you along using 80+ images and descriptive text from the beginning to the compl
etion of this project. The techniques that we will be looking at include :
1. sewing a mini book
2. metal working
3. annealing, aging and patina
4. wire wrapping
5. simple innovations
Although this was written as a whole-listic project :) but each different technique that I share here can be practiced individually and applied separately to your future projects. For instance, once you learn how to make one of my mini books, there are so many things that you can do with them! Make them bigger or make them into charms, modify them and make them your own.
The tools that I own are rather ‘alternative’. I use garden shears as a metal cutter, I don’t own a metal hole puncher so I make holes on metal with a pointy thingy and a hammer. And these are some of my little quirky innovations that I’ll be sharing in this tutorial with you too :) You don’t need loads of professional tools … all you need is imagination!
I am open to answering all your questions pertaining to this tutorial. If there are any parts you don’t understand, or even just to get certain confirmations on a thought that you might have when trying out this project, please convo or message me. I will answer your questions as best I can.
The one request that I have is, please do not share the content and instructional photos of this tutorial in classes, on the net, or on any social networking, photo or blogging sites. You may however, sell a similar piece but please give credit to Luthien Thye for design if you do.
** The Tutorial will be sent to you within 24 hours of payment received. It will be sent to the email on your paypal. Should you want it to be sent to a different email, please leave me a note or convo.
** There will be an accompanying template in jpeg. Please convo me if you don't receive the template.
find this Tutorial @ alteredalchemy.etsy.com/
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
On the final night of Navaratri, we celebrate Siddhidatri Devi, who is an aspect of Maha Lakshmi. She is the One who delivers success and knowledge. We pray to Siddhidatri Devi to bestow on each one the grace of Love and wisdom.
We began the festivities with a Navaratri Procession. Gurudev performed the kanya puja which involves the worship of 9 girls representing the 9 aspects of the Divine Mother. He spoke about the the divine gifts of Ma Siddhidatri and the importance of surrender and consistency.
paramahamsavishwananda.com
bhaktimarga.org
A visit to Craigentinny Telferton Allotments to do some promotional images ahead of their open day on the 5th August. Lots of images of the posters and some contextual and close ups of the knitted fruit, vegetables, animals and insects they have done to involve and entertain the kids. We will be going back on the day to get some shots of the people enjoying the place and all their work.
Children enjoy the harvest of the orchards and acquire healthy eating habits.
Photo credit must be given: ©FAO/Team Colombia. Editorial use only. Copyright FAO
just to start things out, a few days after this meal there was an experiment involving pretzel making and it is clear that it's just not a bagel unless it's boiled. these are more of a bialy, but whatever.
took 1-lb of all-purpose wheat flour and 1/5-lb of dark rye flour and mixed that into 1 3/4c. of room temp water, with 2T. salt, and 1t. dried yeast, and 3-oz. of creamed butter. let the dough prove for an hour in the mixing bowl, then shaped into a large log on a floured work surface, cut into 12 equal segments, patted some of the segments relatively flat and pushed a hole through with the bottom of a floured shot-glass, some of them were rolled and then pinched together (these worked out much better). each bagel shape was placed on parchment paper on a baking sheet, brushed with water, and then sprinkled with some really nice spices (garlic flakes, blue poppy seeds, onion flakes, raw sesame seeds, and coarse sea salt) from christina's in inman square, and then left to prove for an additional 30-40 minutes, then the baking sheets were transferred to a 400-degree oven with a water bath in the bottom, and let to bake for 20-25-minutes.
cream cheese was whipped with a paddle in the mixer until fluffy and then added to it was salt, fresh chopped dill, scallions, red onion, crushed garlic, and finely chopped celery. the bagels were sliced and then toasted under the broiler for a second, and plated with thinly sliced red onion, smoked atlantic salmon, and sliced tomatoes.
[notes: the "everything" flavor was perfect. who likes the other kinds of bagels anyway? the dark rye flour is low in gluten, so that didn't help with the bagels not being
chewy either. they were good for what they were.]
[photo: trisha, photo-ruining: aarn]
AUTOBASE professional service involves: service, environmental protection, car wash systems and rail transit four domains. Subordinate including AUTOBASE, TEPO-AUTO , TOPTECH . The product passes ISO9001 international quality system authentication which is authorized by UKAS most early, and through the strict European CE .
The snowmobile trip on Langjökull
About this set:
I joined Mountaineers of Iceland for one tour on November the 6th. The tour involves driving with a super jeep from Reykjavik to Þingvellir, Geysir, Gullfoss and last but not least a snowmobile trip on Europe's second largest glacier, Langjökull.
One of Savannah's favorite stories involves the life of Florence Martus (1868 - 1943), who was known well by Savannahians and sailors of the sea as the Waving Girl. The daughter of a sergeant stationed at Fort Pulaski, Florence later moved to a cottage along the river near the entrance of the harbor with her brother George, the Cockspur Island Lighthouse keeper.
As the story goes, life at the remote cottage was lonely for Florence whose closest companion was her devoted collie. At an early age, she developed a close affinity with the passing ships and welcomed each one with a wave of her handkerchief. Sailors began returning her greeting by waving back or with a blast of the ship's horn. Eventually Florence started greeting the ships arriving in the dark by waving a lantern.
Florence Martus continued her waving tradition for 44 years and it is estimated that she welcomed more than 50,000 ships during her lifetime.
Have you heard of LARP or 'Live Action Roleplay'? It involves dressing up as hobbits, barbarians, elves and warriors and smiting each other with plastic swords. Imagine acting out Lord of the Rings with your mates on Saturday afternoon, that's LARP and it seems to be taking over from land art as the most popular strange activity to carry out in the woods, in the hope that passers-by will look at you weirdly.
I am quite used to receiving strange looks from passers by as I cobble together leaves and bits of wood. I am also quite used to battling the wind and rain and ephemeral materials when trying to create a little sculpture. What I am less used to is having an assortment of Orcs, Chinese dignatories, Roman centurions and people with blue faces wandering around in the background of my shot. I haven't yet developed any techniques to deal with such a situation perhaps using thorns and a stick and I didn't bring a plastic sword with me with which to do my own smiting.
A few years ago someone sent me some links to some LARP websites and some of the costumes were hilarious and possibly a little kinky. One person wore a full size racoon outfit complete with quiver and bow and arrow. I don't know about you but I don't remember many racoons in Lord of the Rings. And on another site accompanying the barbarians and elves were people dressed as sheep who spent their whole time on all fours being abused by the rest of the role players. I'm fairly broadminded but sheep-submissiveness was a new one on me. But hey, consenting sheep, consenting barbarian? Where's the harm?
So thinking Lord of the Rings is slightly misleading. This group of LARP'ers at the university included two people dressed as medieval Chinese, not soldiers but what looked like figures straight off of a painted plate complete with paper parasols. There was a single Roman centurion kitted out in white leather armour, helmet, shield and sword. I wonder if he wore that for his girlfriend? Or indeed whether he had one?! Then there was the guy with the blue face but the remainder stuck more closely to the Tolkien blueprint: Hobbits, Orcs, warriors and Elves. And there was one more, a guy with a clipboard and a hi-vis jacket. I haven't heard of the 'Legend of the Car Parking Attendant' so I suspect that he was actually adjudicating the whole affair (there are rules with LARP) or maybe he was on hand to administer first aid if someone got poked in the eye with a rubber spear.
I expect you want to know a little about this sculpture now? Well aren't people with blue faces enough for you? Sheesh...
I made this just over a year ago and I had been thinking about using those leaves again as they are so colourful, intricate and wonderful. They soon get ravaged by insects and the elements so it is now when they are at the most fresh and enchanting. I gathered just a few as the tree is not big and I try to take only what I need.
I'm always saying that nature helps construct each sculpture (and I am always saying that I am always saying that!) and this is the way it was with this one. I wanted to display the leaves in sunlight and so I would need to create some sort of frame on which to display them. I thought about a circle, like I did the first time but today it has been really windy and so these delicate leaves would need to be pinned to a more complex frame so that they could maintain their shape without flapping or tearing. Many times in the past the leaves have torn from their thorns which has rendered them ragged and more difficult to fix once again. So instead I made a square frame, reminiscent of oriental designs, which I thought would go with the Japanese maple.
The ends of the square overlapped so that I could chop off the excess when the thorns were in but I saw that where they overlapped I could fit the central veins of the leaves over the top. None of the leaves had right-angled veins so I made the square more diamond shaped so as to line up with the veins of each of the leaves.
As you can see from what I have explained the process of making a sculpture follows what the materials allow you to do, what the elements allow you to do and also by using the structures and properties of the materials themselves each sculpture uses the beauty of nature itself to be the main focus. I can take little credit for the end result, all I am doing is taking nature's photograph.
I don't decide I will make a cube, for example, and then find some materials and make them conform to being a cube. No, instead I look at the materials, the place, the environment and let those things guide me. If I see curved shapes then I think, sphere or circle. If I find straight lines then maybe a square or a cube.
This is the essence of my land art from start to finish. As I wander around looking at what has grown, it is the beauty, the colours, the textures, the shapes and structures that inspire me. I will then gather some of what I find and sitting still in one place I can feel the environment and sense what and how I shoud make something. And then I let the elements and materials guide me. Such a personal relationshp with these things is my solace.
Find beauty in the little things and you will find contentment. Open your senses to look, smell and feel the wonder of nature and the myriad of things that she has to offer and you will not need to look for anything else. All you need is right tlhere, right now should you be willing to look.
1st Lt. Dave Pasquantonio enjoys some authentic Korean food at Tactical Assembly Area Santa Barbara in Wonapsan, Republic of Korea, Oct. 30, 1998. Pasquantonio is apart of 3rd Brigade, 2nd Infantry Division out of Fort Lewis, Wash. He has come to Korea to participate in Foal Eagle '98, a combined exercise involving the Republic of Korea Army and the United States Armed Forces. (U.S. Army photo by SPC Christina Ann Horne) (Released)
Learn more: www.expertinfantry.com
Jannatin Aliah (Titin) gives a lesson. The elementary school that she runs in Pengerak village is a distance class of state elementary school in Jongkong municipality, West Kalimantan, Indonesia.
Photo by Ramadian Bachtiar/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
I often use this next technique. It involves putting in an extra dark shadow right next to the start of the main shadow; a kind of shadow within a shadow. I soften this at the edge and it seems to add to the three-dimensional look of the painting. In this extreme close-up you can note the cool to warm shadow effect. Note also, the reflected light on the outer edge of the hinge butt. Even if it isn't there, put it in anyway as it adds to the illusion.
Student Involvement Fair at Crossley Softball Field, 19 September, 2020. Photography by Glenn Minshall.
There was something for everyone at the Student Involvement Fair on Friday, 15 September, 2017, and judging by the signups there will be plenty of student led activities happening on campus in the weeks and months ahead. Photography by Glenn Minshall.
Sacred Heart University hosted the annual "Just SHU It" involvement fair on the Quad on September 30, 2019. Photo by Mark F. Conrad
New course. Hopefully something that will lead me somewhere career wise in the future. Scary, as it will involve lots of role play which I don't find easy, but necessary if I want to head in this direction. Lovely bunch of fellow 'students' in the group though :-)
273/365
ODC - What kind of Photography
Well, usually something involving animals or my family, and definitely in my home county of Shropshire. These fallow deer roam at Attingham Park, a National Trust Property a few miles down the road, and a lovely place to visit.
Friday, January 8, 2016 kicked off the 5th Annual Coat Drive held by the Elizabeth Board of Education and the New Jersey State Police. Approximately 520 Elizabeth Public School students were recipients of brand new winter coats once again. This year's success was driven by an awesome collaboration involving: Wakefern, Fajardo Realty Group, Elizabeth Fire and Police, the Union County Sheriff's Office, the National Black State Troopers Coalition-Marshall C. Brown Chapter, the Hispanic Law Enforcement Association of Union County and At Heart's Length.
Each year, the principals of each school submit the names of every student in their respective schools. Students are selected by a raffle, and the coats are purchased with the generous donations of the aforementioned entities and other benevolent patrons. This drive’s success is due in large part to the giving merchants who agreed to participate in this annual event: Old Navy in Holmdel, Menlo Mall and the Jersey Garden Mall, JC Penney, Boscov’s, Macy's and Sears in the Woodbridge Center Mall. Their commitment to the community is laudable, and we are grateful for their generosity.
Also important to the drive’s success were all who so generously gave their time to help in the distribution process. Students who attend Juan Pablo Duarte-José Julián Martí, School #28 and are part of the New Jersey State Police FLEET Mentoring Program enthusiastically assisted with distributing coats to fellow students. Also helping with distribution were two recent graduates of the Elizabeth Public School System, Orlando Diaz (Alexander Hamilton Preparatory Academy-Class of 2015) and Jennifer Lozano (Admiral William F. Halsey, Jr. Health & Public Safety Academy-Class of 2013). Not only did they distribute coats, they purchased a few in the spirit of paying it forward! Diaz, who is now attending Kean University, and Lozano, a United States Marine and graduate of Elizabeth's ROTC Program, both are also recent graduates of the New Jersey State Police Trooper Youth Week Program.
Finally, a special thank you to the following people who have spearheaded this event for the last five years, making it the success it has been: Mr. Rafael Cortes, Mr. Aaron Goldblatt, Mr. Donald Goncalves, Mrs. Mabel Torres, Mrs. Melanie Padilla, Board Commissioner Paul Perreira, Wakefern and Tpr. Reinaldo Cruz, Jr. To everyone else who so kindly gave your time and talent behind the scenes, playing a significant role in this campaign, your efforts are sincerely appreciated! Many hands not only make light work, but they also do amazing things! Thank you and until next year!
For the first time in its history, the Knesset celebrated Animal Rights Day. The Knesset Education Committee and Science Committee jointly debated the issue of vivisection involving monkeys at the Weizmann Institute of Science, and supervision over animal experimentation in Israel.
The debate about the animal testing at the Weizmann Institute and how to supervise vivisection in general stood at the center of the Animal Rights Day events, which took place on January 1, 2008. The debate was pursued jointly by the Knesset Education Committee and Science Committee. At mid-day, the Let the Animals Live Association held a protest by the Knesset, calling for the release of the monkeys held at the Weizmann Institute. Later Knesset members from all the factions signed a Animal Rights Declaration, and several parliamentarians addressed the Knesset plenum regarding the issues at stake. Unhappily, there was no plenary vote on important bills that would have benefited animals, because the ministerial Legislative Committee postponed its discussion of the proposals.
At the joint Education-Science Committee, Knesset member Benny Eilon (Science) and Knesset member Rabbi Michael Melchior (Education) expressed concern at the information exposed by the covert investigation conducted by Let the Animals Live about the inhumane experiments done on monkeys and cats at Weizmann. They called for re-examination of the way the law regarding supervision of animal experimentation is enforced.
Knesset members Zevulun Orlev, Dov Khenin, Yuval Hasson, Gideon Sa'ar, and Eitan Cabel proposed amending the law to change the composition of the council that oversees vivisection by adding three members of animal rights organizations, replacing the council chairman with a judge, and adding an external veterinarian to internal committees at the institutes that carry out animal experimentation.
Knesset members Arie Eldad and Jamal Zahalka opposed amendment to the law, arguing that the law is enforced properly, and that the scientists should be trusted to carry out their work appropriately and within the confines of the law. Amendment would impair academic freedom, they argued, and hold back scientific progress in Israel.
The president of Weizmann Institute, Prof. Daniel Zajfman, announced that the experiments exposed at the institute were being done in compliance with approvals and the law. He said that Weizmann Institute's experiments on animals were done at the highest standards in Israel. The chairman of the Animal Experimentation Council, said that after the experiments were exposed, the council sent a team to inspect the experiments being done at Weizmann, which concluded that the tests were being done properly.
Attorney Ruven Ladianski, general manager and legal counsel of Let the Animals Live, also spoke at the Knesset debate, saying, "An attempt is being made here by the experimenters to portray us, representatives of the organizations, as a group of lunatics that opposes saving human life, which is not the case. There is no research, be it the most important, that justifies the harsh living conditions of the monkeys – isolated, in small cages, in a dark room with no windows, in a constant state of thirst and strapped down in chairs without ability to move for hours on end."
The charged, stormy debate ended with a resolution that two subjects – supervision over animal experimentation and the experiments on monkeys at Weizmann Institute would be inspected, and discussed at a joint sub-committee of the Science and Education committees. The panel will be chaired by Benny Eilon.
After the joint Knesset Education Committee and Science Committee debate, a protest organized by Let the Animals Live took place at the Knesset, calling for the release of the monkeys held captive at Weizmann Institute. Dozens of demonstrators, including groups of students from the Open Democratic School in Jaffa, called on the Knesset members to reduce animal experimentation in general and to obtain the release of the monkeys from the Weizmann Institute in particular. Knesset member Dov Khenin (Hadash party) talked with the protestors, encouraging them and vowing to act vigorously to change the vivisection law, to reduce animal experimentation and to improve supervision.
Let the Animals Live thanks all the participants at the demonstration and all those who support the battle to rescue the monkeys from Weizmann Institute. The association calls on you to help call for action, and invites you to stay abreast of developments via the association website.
The experiments at the Weizmann Institute - www.letlive.org.il/english/article.php?id=173&PHPSESS...
A call for action - www.letlive.org.il/english/article.php?id=175
For more information about International Animal Rights Day and the Universal Declaration of Animals' Rights see: www.uncaged.co.uk/declarat.htm
“ART RIGA”
International art fair “ART RIGA” is intended as an annual long-term project involving art professionals from all over the world: the best art galleries, art critics, specialized cultural magazine publishers. Given that by 2014 Riga became the European capital of culture-it is crucial for the success of “ART RIGA” to open up opportunities for long-term development.
Exhibition Period Novenber 24.2014 to November 30.2014
Art Messa main objectives:
To promote the professional development of art markets in Latvian and the Baltic region.
Messa is encouraging to participate in all professionally operating a galleries, provided that:
the gallery exists more than 5 years;
the galleries main activity is the principal activity;
the gallery has constant work areas and regular visitors .
The main selection criteria:
Professionalism
Galleries artist clear and readable artistic idea
Innovative and creative presentation
But if you have a different legal status, Write, call us - we will agree. In order to form an art.
Technically, the format is said to divide the following area of the participants choice with the help of booths to homogeneous blocks and each participant has been given their booth, but the exhibition possibly also might deviate this rule.
Event organization place - Latvian Railway History Museum ,chosen because of its cultural and historical significance Riga's environment, capacity and it is an easily available location for tourists.
The Messa's round table and it is an conference, press center will become the railway museum's unique exhibits - a reconstructed variety of Latvian history period wagons, providing the Messa's guests and participants information on Riga's technical culture traditions. In an environment, which is based on traditional, historic accomplishments it's particularly nice to dream about the future of art and its development.
During the Messa there is planned a program filled with a variety of activities: opening event with a concert, seminars, round tables, presentations of participants, participants will have a tour around Riga.
It is planned to involve visitors of the Messa to join the discussion table, organize quizzes and surveys to promote the visibility of the participants.
The Messa is planned to build for 7 days, from Monday to Sunday, the first day is traditionally intended for the sectors professionals: art dealers, gallerists, critics.
Event organizer - Ltd "Euroclub", in collaboration with the exhibition hall "Happy Art Museum" and Ltd "Pinakotēka".
Event organizers of the exhibition hall "HAPPY ART MUSEUM" and Ltd "Euroclub" has considerable experience in international exhibitions and major events, most of which are self-financed. From 2008 through 2010, organizers worked in the exhibition hall "Pinakoteka", where the local contemporary art exhibition cycle "AUTUMN 2009 ", "AUTUMN 2010" , Latvian designer union annual exhibition, the magazine "Rīgas Laiks" anniversary exhibition and others were held. There where international exchange exhibitions with our closest countries; the creative Estonian and Lithuanian artist unions and a spectacular exhibition (around 50 monumental art examples) from St.Petersburg Art Academy fund stocks. The gained contacts from these activities contributes to the creating and developing of “ART RIGA” . The organizers have experience in the distribution of information: a large number of followers on social networks, which continues to grow
Twitter -40 000 followers, Facebook the maximal amount of followers -5 000, on GOOGLE+ 10000 one of the leading organizations in Latvia’s top 10 list. Latvian "Facebook"- Draugiem.lv 8500 followers etc.
24th of November – 30th of November 2014
Application deadlines are at 1st of October 2014
The decision on the selection of potential participants are done by the "ART RIGA" commission in 3 weeks time after the submitted application form and the required visual material has been received.
Application form has to be sent by 1st October 2014 to the electronic mail address:
The participation fee for In Case of Cancellation
Participants undertake to pay the participation fee to the organizer of the exhibition till the 10th of October – 500 EUR.
Each participant receives two exhibition catalogs, 5 invitations to all activities related to "ART RIGA".
Payment arrangements
After the commissions affirmative decision and the participation contract is concluded with the organizer, the participant will receive a bill. Participants have to pay 30% of the bill within 10 days of receipt of the bill, and the remaining amount until the 10th of October.
The organizer does not pay for GST (VAT), all of the bills are charged without GST (VAT).
Costs of a booth rent:
White hall
(5 blocks), ceiling height is 4,5 meters
Booth height –
Booth area –
1800 EUR for a booth
Big hall
50m² - 2000 EUR
80 m² - 2500 EUR
100 m² - 3000 EUR
Linear wall space will be specified.
The are available spots with natural lighting from large windows.
Detail selections and additional order form
1. Customs brokerage
2. Montage services
3. Packing service
4. Translations/gallery press release
5. Extra page with text in the exhibition catalog – 400 EUR
6. White wall sticker lettering with artist names
Terms and conditions
Participants undertake to complete all the required payments till the 10th of October and submit all the needed for visual identification materials.
The organizator guarantees, that infromation about all the participants will be entered in www.artriga.com and stored until 01.10.2015.
The organizator has rights to use the submitted visual material in all types of advertisement events in the press, electronic communication services , television and others.
The organizator provides the booths art equipment – 1 table, 4 chairs, booth art lighting and an inscription of the participants name.
The organizator if needed, will offer the art work montage service. The cost of the service will be determined precisely by the art work amount and sizes.
Participant booth montage works will take place 1 day – 23rd of November from 10:00 till 22:00, UMT/GMT +3 timezone.
Participant booth demontage, packing and transportation works will take place from 30th of November 16:00 to 21:00 and the 1st of December from 10:00 to 15:00.
The organizer offers packing service.
During the exhibiton a press-center for the participants, press and for those who are interested will run.
Press-center address: Dzirnavu street 67, shopping and entertainment center “Galleria Riga”, 7th floor, “Happy Art Museum” halls. HappyArtMuseum @ most expensive in the Baltics entertainment &shopping arcade Galleria Riga Dzirnavu street 67 7 floor (300m2)
13.00-22.00-- every day seven days a week free entrance 5 years exhibitions. Latvian society of artists masterpieces and exchange projects from neighboring countries.
Happy Art Museum” primary mission is to provoke (encourage) the viewer on a conversation. HappyArtMuseum mission to provoke love - change the world with art exhibitions exchange We offer cooperation in organizing the art exhibitions.
More than 200 USFers fell silent on Gleeson Plaza at 12:30 Thursday afternoon and some held up signs in honor of Michael Brown — the Ferguson, Mo., teen killed by police in early August: bit.ly/1pdaPYu
See more photos from the Office of Student Leadership and Engagement: bit.ly/OuejeE
Student Involvement Fair at Crossley Softball Field, 19 September, 2020. Photography by Glenn Minshall.
François Lefèbvre (1762-1835), Temple of Love in the Park of Laeken/Der Liebestempel im Park zu Laeken, 1787
Aquarell/Watercolour
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.